Music For No Tomorrow

by Burial Grid

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MCAL - FE The first time I heard this album I was going through the wringer health-wise and exploring lots of new music to help pass the time. While listening I felt both clear-headed and zeroed in but also, somewhat inversely, like I was suspended within some vast, black ethereal plane of existence. MFNT has since become a bit of a personal cult classic. It's a bracing, jarring, fascinating, fever-dream listening experience, and I highly recommend it.

sirshannon Now THAT is how you end an album, by making me want to start it over from the beginning, immediately. Favorite track: It All Ends At Midnite.

masterkoda This album is black-velvet-lined cynical optimism, a constellation in the darkness, navigating the listener to a place they didn't know they needed until now. Favorite track: Indivisibility.

Mr Conner These songs are constructed from such beautiful and liberating sounds, textures, and melodies. The mood is less dark, haunting, and torturous than comforting and forgiving.

Matthew Werner - Rieux Varied, nuanced, textured, and moving. This album is one of my favorites of the year. Favorite track: Indivisibility.

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	1.	Stop Thinking About Tomorrow 05:02
	2.	Soothing Sounds for Detritivore 06:38
	3.	Asri 05:50
	4.	Grass-Lined Coffins 04:10
	5.	Indivisibility 04:52
	6.	Tun State 04:29
	7.	7. The Cyperus Bulb Eaters 04:51
	8.	You're Home, Arturo 05:52
	9.	Dream Self 05:17
	10.	It All Ends At Midnite 05:39

about

The impetus for Massachusetts-based producer Burial Grid (AKA Adam Michael Kozak) is nearly always fear. That fear, harnessed and transmogrified from paralysis-inducing dread into an engine for positive creativity is the prism. The eclecticism of tones and colors that have cumulatively resulted with each successive release has revealed a spectrum of emotional and social complexity of our most base-level impulses.

Music For No Tomorrow, Kozak's sixth release under the Burial Grid moniker, and first for Werra Foxma Records, is no exception to this pattern of sonic bait-and-switch. Absent are the moldering 8-bit plunderphonics of Where We Go, the sprawling electro prog-rock of My Body Dissolves, the abject pessimism and blackened ambience of Negative Space, the grief-stricken doomwave of We've Come for Your Flesh, and the exercises in detached, analog synth minimalism of Shores of Quiddity.

In their place blooms a kaleidoscopic thicket of an endless array of colors - a holt for spritely and ever-mutating synthesizers, lullaby bells, dancing synthesized drums, found sounds crushed by ancient samplers, obsolete cell phones, and dictaphones. This all points to a new set of colors unexplored by Kozak: Ecstasy. And consolation.

For ...No Tomorrow, Kozak draws inspiration from human achievement, and casts aside his usual misanthropy. Influences from First Nation American, late 20th century Japanese, West African, and Afro-Cuban music make their home next to a palette that draws heavily from 70s electronic pioneers and late 90s Warp Records.

Music For No Tomorrow doesn't choose to fight the swarming, eco-doom of living in late-stage capitalism, but instead seeks to achieve a type of acceptance of our collective October in self-indulgent escapism. Perhaps fleeing existential dread is the only balm potent enough to provide pause and allow the clouds to part, giving one the clarity to celebrate all that the world is on the cusp of bucking from its burdened back before it's too late. To live like there is no tomorrow.